After touring extensively, including the National Gallery in Canberra, the University of Woollongong, and the Arthouse in Melbourne, Buttress took the new songs she’d been trying out on audiences (like ‘Dexodus’ and ‘I Like’) and placed them alongside live experiments with AudioMulch (with source material ranging from Guns N Roses, to Crystal Waters, to Wu Tang Clan), as well as several pieces she’d composed for other projects (including ‘Some Assembly Required’s 50/50 compilation). Continues in her fine tradition of straddling the line between breakcore, mashup, and pure dada.

“Isn’t there something in your mind, that says, this is wrong, this is wrong on every level?”

At the time, at the time, it was like… it was…

…like horses, you know?

Comprised of two parts,* …like horses is presented as the ultimate in dark corporate stoner reflective/receptive grinding face core.

…like horses is recommended as perfect for long drives late at night, for community and public radio, for all intoxicated people, for going to sleep, for those days at work, and for ALL human life on the planet.

So prolific was John Watermann, that in 1991 he began releasing cassettes of his music under a number of aliases, including Total Disease, Radio Mull, and Spinal Machine, on his label Nightshift Records.

‘Scraping It Hard’ was Watermann’s first release as Spinal Machine. Its four tracks range from minimal electronics, to cutups, to soundscape manipulations.